想法丨发现丨习惯丨人文
品味语言 了解文化
导语:笔墨纸砚，一直是中国文人墨客的最爱。而“砚台”因为最厚重，能传世最久，高居文房四宝之首。然而，传承千年至今，砚台的制作工艺却渐渐失传！本期读懂重庆带你走进巴渝三大名砚之首的合川峡砚，一起感受千年的砚文化技艺。
墨玉宝砚——非遗合川峡砚
砚台是伴随着笔和墨的发展而发展起来的。汉代由于发明了人工制墨，墨可以直接在砚上研磨，于是砚台开始发展起来。经过很长时间的历史，砚台早已不再是单纯的工具，而成为了集雕刻，绘画于一身的精美工艺品，成为文人墨客收藏的对象。
Inkstone developed with the evolution of writing brush and ink-stick. In Han dynasty, human-made ink-stick was invented. It can grind directly in inkstone and consequently inkstone began to develop. After a long history, inkstone is not just a tool but an exquisite workmanship which is the integration of carving and painting.It became one of the collections of literati.
砚台
SPRING
合川峡砚（又称三峡石砚）与金音石砚、虁砚并称为重庆三大名砚，峡砚被列入巴渝十二品。数百年来随着传统手工艺的逐渐失传，现在只有三峡石砚被完整的传承下来了，还有不断的作品产出。合川峡砚又称墨玉宝砚，钓鱼城峡砚或三峡石砚台等。其采用嘉陵江沥濞峡段的天然峡石精雕细琢而成，独在这里的峡石（又称“黑玉石”）是全国独一无二并且石质细腻、色泽淡雅，以此石为砚不仅不损笔锋，而且砚中蓄水，数日不干，储墨不腐。
Hechuan Xia Inkstone(Also named San Xia Inkstone)as well as Jinyin Inkstone,Kui Inkstone are three famous inkstones of Chongqing. Xia yan is on the list of ‘Twelve Productions of Bayu’. After hundreds of years, as traditional handicraft failed to be handed down from past genrations, only San Xia Inkstone was completely inherited and there are still new productions. Hechuan Xia Inkstone has other names such as Mo Yu Inkstone, Dia Yu Cheng Xia Inkstone or San Xia stone. It is crafted by the natural Xia stone of Libi Gorge of Jialing River. The Xia stone here is unique in China with exquisite tactile sensation and elegant color. The inkstone made by Xia stone would not damage the tip of a writing brush and it can retain water and inkstick for some days.
合川峡砚
古代文人墨客追捧奇纸、佳砚、良笔，与今人追求的机械键盘和光电鼠标的狂热差不多。峡砚自五百多年前制造出来开始，迅速得到全国文人学士的喜爱。写《爱莲说》的周敦颐当初在养心亭著书时，用的就是峡砚。英宗时期吏部尚书李实，也专门留诗对家乡的砚台大加褒扬. 时至近代，知名人士及书画家如冯玉祥、郭沫若、于佑任、谢无量等亦题诗赞扬峡砚，合川峡砚历史可谓风光无限。
The pursuit for inkstoe and writing brush of the ancient literati is similar to the enthusiasm for mechanical keyboard and optical mouse of modern people. Xia inkstone attracts the literati all over the country since it was made 500 years ago. Zhou Dunyi, the writer of ‘Ai Lian Shuo’, used the Xia inkstone when he was writing in the Yang Xin Pavillion. Li Shi, the ministry of personnel in Ying Zong Period, wrote poems to praise the inkstone of his hometown. The modern literati and artists such as Feng Yuxiang, Guo Moruo, Yu Youren, Xie Wuliang also wrote poems to praise Xia inkstone. We can see the flourishing history of Hechuan Xia inkstone.
而与其名身在外的美誉相比的，则是峡砚本身并不顺遂的发展历程。早在宋初，合川峡砚就以精湛的雕刻技艺远近闻名，甚至比肩闻名天下的是端砚、歙砚、洮砚、澄泥砚，四大名砚；随着南宋中晚期宋蒙交战，峡砚一度停产，到了明代才恢复制作，而等到明末由于战乱，工匠纷纷居家迁徙躲避战乱，峡砚制作再度终断。直到清康熙年间“湖广填四川”的移民与当地民间手艺人共同振兴雕刻工艺，才使得峡砚重获生机。
Comparing with the reputation of Xia inkstone, it’s development process is not easy. In Song Dynasty, He Chua Xia inkstone was famous for its exquisite carving which can compare favorably with Duan inkstone, Xi inkstone, Tao inkstone and Dengni inkstone—the four famous inkstone. But in the late period of South Song Dynasty, Song and Meng armies were at war and Xia inkstone halted production until Ming Dynasty. But there were chaos caused by war at the end of Ming Dynasty, craftsmen migrated to avoid which made the production of Xia Dynasty halt again. Until Kang Xi period, the immigrants as well as local craftsmen in Sichuan area worked together to revitalize carving technics and made Xia inkstone rejuvenated.
随着近现代的工艺不断精进，砚台形状从单一的方型、条型、小圆型演变成自然形状的各种异形体，平凡无奇的砚台，在手艺人手中篆刻出石竹、仕女、龙凤、衍生出风格不一的异型台砚台。匠人结合浮雕，镂空等复杂工艺，做出“嫦娥奔月”“仙女献花”以及“中国龙”等作品，让峡砚在全国大放光彩，甚至在二十世纪八十年代里，峡砚由几个款式发展到近百款，并且大量出口到日本。
With the improvement of modern technic, the shape of inkstone evolved from squareness, line, roundness to a variety of shapes. The craftsmen carves the normal inkstone into different kinds such as Pink(Shi Zhu), Beautiful woman, Dragon and Phoenix. The craftsmen made ‘Chang E Ben Yue’, ‘Xian Nv Xian Hua’ and ‘Chinese Dragon’ and other works by relief, hollow out and other complex technics, which made Xia inkstone famous in the country. Even in the 1980s, Xia inkstone developed to thousands of kinds and were imported to Japan with great amount.
大放异彩合川峡砚
而如今，款式越精美峡砚越难销售，因为消费者销售不起，而只运用浅浮雕等简单手艺的作品，售价在2000元以内，反倒能让爱好者买来收藏或作馈赠之礼。如何让艺术品在内行与大众之间取得平衡，整个行业都在思考。
Today, the more exquisite the Xia inkstone is, the more difficult for it to be sold, because consumers cannot afford. But the production which only uses simple technic such as bass-relief can be sold within 2000 Yuan and it’s more likes for its fans to buy it for collectors or present. What the whole industry is thinking is how to achieve the balance of craftwork between connoisseur and the masses.
笔、墨、纸、砚、书、画、瓷、绣，凡中华传统文化淬炼出的艺术品，无不在现代社会面临着生存发展的迷宫。商业模式的进步，传统技艺的更新，审美情趣的高标，人才传承的扩大，每一个问题都难以克服，每一个问题都指点着未来的方向。就如同手锤敲打起的石屑，刻刀削挖下的线条，道道工序的共同叠加，才能让那方精美的砚台浮出水面。
The craftwork that are refined by traditional Chinese culture such as writing brush, inkstick, paper, inkstone, book, painting, china, embroid, are facing a dilemma of survival and development. Matters like the progress of business model, the evolution of traditional technics, the higher standard of the aesthetic, the expansion and inheritance of talents are difficult to overcome and they point out the directions. Like the stone chips hit by hammers, lines carved by knives, every process combined to refine the exquisite inkstone.
THE
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中文撰稿：曹银银（2017级新闻编辑）
中文指导：冉红庆
英文翻译：万康 （2017级翻译9班）
英文指导：李杰
英语诵读：陈沁雯（2018级鹏程4班）
诵读指导：桂姝姝
排版：李妤婕（2018级新闻编辑）
责任编辑：庆姐
统筹协调：景熹
监制：杨莉 顺哥
英语学院翻译教研室
国际传媒学院融媒体创意中心联合出品